A Week of Color in Paris · A Week of Color in Paris Color Science and Engineering Systems, Technologies, and Applications Join us in Paris, “the city of light”, for a week of

Material Appearance Workshop

A Week of Color in Paris

MCS 2019: 20th International Symposium on Multispectral Colour Science

PRELIMIN

ARY

PROGRA

M

October 21–25, 2019Paris, France#CIC27

Sponsored by Society for Imaging Science and Technology

IS&T

CIC27www.imaging.org/colorearly reg deadline: 22 Sept 2019

Twenty-seventh Color and Im

aging Conference

imaging.org

Table of Contents

Cooperating Societies

October 21–25, 2019 • Paris, France

General ChairNicolas Bonnier*Apple Inc. (US)

Technical Program ChairsMaria Vanrell*CVC – Universitat Autònoma deBarcelona (Spain)Peter Morovic*HP Inc. (Spain)

Short Course ChairsIvar FarupNorwegian University of Scienceand Technology (Norway)Eric Walowitindependent consultant (US)

Workshop ChairsJavier Vazquez-CorralUniversity of East Anglia (UK)Qianqian PanUniversity of Leeds (UK)

Interactive Paper ChairsYoungshin KwakUlsan National Institute of Science and Technology (SouthKorea)David AlleyssonLPNC: Laboratoire de Psychologie et Neurocognition(France)

Liaison and Special ProgramChairChristine Fernandez-MaloigneUniversity of Poitiers (France)

CIC27 JIST-first Associate EditorsMichael J. Murdoch (lead)Rochester Institute of Technology(US)Jérémie GerhardtIRYStec Software Inc. (Canada)Jean-Baptiste ThomasNorwegian University of Scienceand Technology (Norway)Norimichi TsumuraChiba University (Japan)

CIC Steering CommitteeGraham FinlaysonUniversity of East Anglia (UK)Suzanne Grinnan, IS&T (US)Marius Pedersen, Norwegian University of Science and Technology (Norway)+ those with (*) above

Program Committee

©2019 Society for Imaging Science and Technology (IS&T).

Conference At-a-Glance . . . . . . . . . . . . . 2

Venue and Travel . . . . . . . . . . . . . . . . . 2

CIC27 Conference Program . . . . . . . . . . 3

Short Course Program . . . . . . . . . . . . . 10

Short Courses At-a-Glance . . . . . . . . . . 11

CIC27 Workshops . . . . . . . . . . . . . . . 22

Conference Registration . . . . . . . . . . . . 25

• Comité del Color• European Optical Society (EOS)• The Finnish Color Association• Forum Farge• The French Color Imaging Group• German Society for Color Science and Application

(DfwG)• GI Fachbereich Graphische Datenverarbeitung• Gruppo del Colore-Associazione Italiana Colore• IOP Printing and Graphics Science Group• Imaging Society of Japan (ISJ)• Inter-Society Color Council (ISCC)• NOBIM (Norwegian Association for Image Processing

and Pattern Recognition)

• Swedish Colour Centre Foundation• The Colour Group (Great Britain)• The Royal Photographic Society of Great Britain/

Imaging Science Group• Society of Motion Picture and Television Engineers

(SMPTE)

CONFIRMED EXHIBITORSas of June 27, 2019

CONFERENCE SPONSOR

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A Week of Color in Paris

Color Science and Engineering Systems, Technologies, and Applications

Join us in Paris, “the city of light”, for a week of color-related courses, workshops, paper pre-sentations, exhibits, and interesting conversations around technical topics and application ar-eas related to color and imaging!

I’ve attended every CIC since CIC13 in 2005. I first came to the conference as a young PhDstudent, monitored nearly every course CIC had to offer, and have learned so much through-out the years. I’m now truly humbled to serve as the general chair of this 27th year, and amvery excited to welcome you to my hometown!

The conference begins with two days of extensive short courses on a wide range of topics, aswell as an intensive one-day introduction to color science course and a workshop organizedby GDR on material appearance. On Tuesday, we offer four participant-generated workshopsdesigned to allow a deeper dive into specific color arenas.

The conference committee has put together a very strong technical program with 31 oral pa-pers, 3 invited talks, and 41 interactive (poster) papers, providing a great opportunity to learn,discuss, and share knowledge. In addition, we are thrilled to host three outstanding keynotespeakers:• Dr. Marina Zannoli, vision scientist in the Display Systems Research group at FacebookReality Labs, focusing on the perception-centered development of AR/VR displays.

• Dr. Beau Watson, chief vision scientist at Apple Inc., revealing the chromatic pyramid of visibility.

• Dr. Panagiotis-Alexandros Bokaris, augmented reality research engineer at L’Oréal, enlightening us with “Let there be light: An AR immersive experience”.

Long coffee breaks and lunches, plus the Welcome and Conference Receptions, provide theperfect time to meet new associates, reconnect with friends, and delve into the many excitingtopics related to color and imaging.

Please help us get the word out about this amazing annual event and prepare yourself for agreat week in Paris. We're looking forward to seeing you and enjoying an excellent confer-ence together!

—Nicolas BonnierGeneral Chair CIC27

CIC27Twenty-seventh Color and Imaging Conference


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Monday 21 OctoberRegistration open 7:00 – 15:30• Color and Imaging one-day short course(separate fee required), see page 10

• Short Courses Day 1 (separate fees required), see page 10

• Material Appearance Symposium, seepage 3

Tuesday 22 OctoberRegistration open 7:00 – 16:00• Short Courses Day 2 (separate fee required), descriptions begin on page 10

• Workshop Program, see page 22• Future Directions in Image Quality• Lighting and Chromatic Adaptation• The Art and Science of High-End Digital Color Print-Making

• Cultural Heritage Digitalization• Welcome Reception, location TBA

Wednesday 23 OctoberRegistration open 8:00 – 16:20• Opening Keynote: Perception-CenteredDevelopment of Near-Eye Displays, Marina Zannoli (Facebook Reality Labs),see page 4

• Exhibition• Technical Sessions• Lighting• Chromatic Adaptation• Material Appearance• Printing• Interactive Paper Previews I

Thursday 24 OctoberRegistration open 8:30 – 15:30• Keynote: The Chromatic Pyramid of Visibility, Andrew “Beau” Watson (AppleInc.), see page 6

• Exhibition• Technical Sessions• Color Perception• Color Appearance• Interactive Paper Previews II

• Interactive (Poster) Paper Session• Invited Focal on Imaging and Art: Scientific Imaging for Cultural Heritage,Clotilde Boust (Centre de recherche et derestauration des musées de France)

• Conference Reception, location TBA

Friday 25 OctoberRegistration open 8:30 – 12:40• Keynote: Let There Be Light: An AR Immersive Experience, Panagiotis-Alexandros Bokaris (L'Oréal), see page 9

• IS&T Honors and Awards Presentations• Technical Sessions• Displays• Applications & Analysis• MCS 2019

• Best Student Paper Award Presentation

Conference At-a-Glance

Interested in exhibiting or sponsoring an

event at CIC? Contact Donna Smith to learn

more: [email protected].

EXHIBIT AT CIC27!

VENUE AND TRAVEL LOGISTICS

All CIC events take place at

Centre International de Conférences Sorbonne Universités (CICSU)4 place Jussieu, Patio 44–55

75005 Paris

unless otherwise noted. CICSU is in theQuartier Latin, 5e Arrondissement.

There is no conference hotel; attendeesare asked to make their own travel andlodging arrangements. Please feel free tocontact the IS&T office if you’d like anyguidance or advice: [email protected].

CIC27: Twenty-seventh Color and Imaging Conference — #CIC27

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Monday 21 October 2019

8:00 – 17:45SHORT COURSE PROGRAMFeaturing fundamental and advance-topicclasses, see page 10 for details. Classes require an additional fee; you do not need toregister for the conference to attend classes.

MATERIAL APPEARANCE WORKSHOPOrganized by GDR APPAMAT This workshop looks at the different discipli-nary fields around the appearance of materi-als, surfaces, and objects and how to measure,model, and reproduce them. More informa-tion at bit.ly/CIC27_ MAWS.

Tuesday 22 October 2019

8:00 – 15:30SHORT COURSE PROGRAMDescriptions begin on page 10. Classes re-quire an additional fee; you do not need toregister for the conference to attend classes.

15:45 – 18:15CIC27 WORKSHOPS• W1: Future Directions in Image Quality• W2: Lighting and Chromatic Adaptation• W3: The Art and Science of High-End

Digital Color Print-Making• W4: Cultural Heritage Digitalization

See page 22 for details. A workshop is included with each full conference registration.You may also sign up for workshops and not attend the conference. See registration formfor details.

18:15 – 19:45WELCOME RECEPTIONLocation TBA

Wednesday 23 October 2019

9:00 – 10:00WELCOME AND OPENINGKEYNOTEPerception-Centered Development of Near-Eye Displays, Marina Zannoli, Facebook Reality Labs (US)

10:00 – 10:40LIGHTINGCIC Best Paper Award Color TemperatureTuning: Allowing Accurate Post-captureWhite-balance Editing, Mahmoud Afifi, Abhijith Punnappurath, Abdelrahman Abdelhamed, Hakki Can Karaimer, AbdullahAbuolaim, and Michael S. Brown, York University (Canada)Coupled Retinex, Javier Vazquez-Corral andGraham D. Finlayson, University of East Anglia (UK)

11:20 – 12:50CHROMATIC ADAPTATIONTime Course of Chromatic Adaptation underDynamic Lighting, Rik Spieringhs1, MichaelMurdoch2, and Ingrid Vogels1; 1EindhovenUniversity of Technology (the Netherlands) and2Rochester Institute of Technology (US)Degree of Chromatic Adaptation underAdapting Conditions with Different Luminance and Chromaticities, Siyuan Chenand Minchen Wei, Hong Kong PolytechnicUniversity (Hong Kong)Evaluation and Modification of von KriesChromatic Adaptation Transform,Shining Ma1, Peter Hanselaer1, Kees Teunissen2, and Kevin Smet1; 1KU Leuven (Belgium) and 2Signify (the Netherlands)Colors and Emotions (Invited), Christine Fernandez-Maloigne, University of Poitiers(France)

12:50 – 14:00LUNCH ON OWN

Conference Program


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14:00 – 15:00MATERIAL APPEARANCEJIST-FIRST Detecting Wetness on Skin usingRGB Camera, Mihiro Uchida and NorimichiTsumura, Chiba University (Japan)Perceived Glossiness: Beyond Surface Properties, Davit Gigilashvili, Jean-BaptisteThomas, Marius Pedersen, and Jon YngveHardeberg, Norwegian University of Scienceand Technology (Norway)Appearance Perception of Textiles: A Texture Study, Fereshteh Mirjalili and Jon Yngve Hardeberg, Norwegian University ofScience and Technology (Norway)

15:00 – 15:40TWO-MINUTE INTERACTIVE(POSTER) PAPER PREVIEWS IThe Importance of a Device Specific Calibration for Smartphone Colorimetry, Miranda Nixon, Felix Outlaw, Lindsay MacDonald, and Terence Leung, UniversityCollege London (UK)Jointly Design Plane-dependent FM ScreensSets using DBS Algorithm, Yi Yang and Jan Allebach, Purdue University (US)Color Processing and Management in Ghost-script, Michael Vrhel, Artifex Software (US)An Evaluation of Colour-to-Greyscale ImageConversion by Linear Anisotropic Diffusionand Manual Colour Grading, Aldo BarbaRamirez, Marius Pedersen, and Ivar Farup,Norwegian University of Science and Technology (Norway)Developing a Visual Method to CharacterizeDisplays, Yu Hu, Ming Ronnier Luo, BaiyueZhao, and Mingkai Cao, Zhejiang University(China)A Testing Paradigm for Quantifying ICC Profilers, Pooshpanjan Roy Biswas, Alessandro Beltrami, and Joan Saez Gomez,HP Printing and Computing Solutions (Spain)Beyond raw-RGB and sRGB: Advocating Access to the Colorimetric Image State, Hakki Karaimer and Michael Brown, York University (Canada)Skin Balancing: Skin Color Based Calibration

for Portrait Images to Enhance the AffectiveQuality, Yuchun Yan and Hyeon-Jeong Suk,KAIST (South Korea)On an Euler-Lagrange Equation for Color toGray-scale Conversion, Hans Jakob Rivertz,Norwegian University of Science and Technology (Norway)Conceptualization of Color Temperature Scenario Applied to Quality Lighting Design,Estelle Guerry, Céline Caumon, Georges Zissis, Elodie Bécheras, and Laurent Canale,Université de Toulouse (France)Effects of Black Luminance Level on ImageQuality, Ye Seul Baek and Youngshin Kwak,Ulsan National Institute of Science and

OPENING KEYNOTEPerception-Centered Development ofNear-Eye Displays, Marina Zannoli,Facebook Reality Labs (US)

To create compelling mixed reality expe-riences, we need to better understandwhat it means to be an active observer ina complex environment. In this talk, Imake the case that building mixed reali-ty technology that seamlessly interfaceswith our sensorimotor system allows forimmersive and comfortable experiences.First, I present a theoretical frameworkthat describes how mixed-reality tech-nologies interface with our sensorimotorsystem. Then, I show how we can useknowledge about the human visual sys-tem to develop novel image quality met-rics for near-eye displays. Finally, I de-scribe how the Display Systems Researchgroup at Facebook Reality Labs developsimage quality metrics, testbeds, and pro-totypes to define requirements for futureAR/VR displays. More specifically, Ipresent a series of head-mounted proto-types, rendering techniques, and bench-top testbeds that explore various paths tosupport focus cues in near-eye displays.

Technology, and Sehyeok Park, SamsungElectronics (South Korea)Evaluating Colour Constancy on the NewMIST Dataset of Multi-illuminant Scenes, Xiangpeng Hao, Brian Funt, and HanxiaoJiang, Simon Fraser University (Canada)Styling of Refrigerator Lighting by Alteringits Chromaticity and Placement, Kyeong AhJeong and Hyeon-Jeong Suk, KAIST (South Korea)Analysis of Relationship Between WrinkleDistribution and Age based on the Compo-nents of Surface Reflection by Removing Luminance Unevenness on the Face, IkumiNomura1, Kaito Iuchi1, Mihiro Uchida1, Nobutoshi Ojima2, Takeo Imai2, and Norimichi Tsumura1; 1Chiba University and2Kao Corporation (Japan)Illuminance Impacts Opacity Perception ofTextile Materials, Davit Gigilashvili, Fereshteh Mirjalili, and Jon Yngve Hardeberg, Norwegian University of Science and Technology (Norway)Impact of Shape on Apparent TranslucencyDifferences, Davit Gigilashvili1, Philipp Urban1.2,Jean-Baptiste Thomas1, Jon Yngve Hardeberg1,and Marius Pedersen1; 1Norwegian Universityof Science and Technology (Norway) and2Fraunhofer Institute for Computer Graphics Research IGD (Germany)Line Spread Function of Specular Reflectionand Gloss Unevenness Analysis, Shinichi Inoue and Norimichi Tsumura, Chiba University(Japan)Removing Gloss using Deep Neural Networkfor 3D Reconstruction, Futa Matsushita, RyoTakahashi, Mari Tsunomura, and NorimichiTsumura, Chiba University (Japan)Estimating Concentrations of Pigments usingEncoder-decoder Type of Neural Network,Kensuke Fukumoto and Norimichi Tsumura,Chiba University (Japan), and Roy Berns,Rochester Institute of Technology (US)Color Space Transformation using NeuralNetworks, Lindsay MacDonald, UniversityCollege London (UK), and Katarina Mayer,ESET (Slovakia)

16:20 – 17:40PRINTINGJIST-FIRST Angular Color Prediction Model for Anisotropic Halftone Prints on a Metallic Substrate, Petar Pjanic, ESRI R&D (Switzerland); Li Yang and Anita Teleman, RISE (Sweden); and Roger D. Hersch, Ecole Polytechnique Federale de Lausanne (Switzerland)Printing with Light: Daylight-fluorescent Inks for Large-gamut Multi-color Printing, Peter Morovic1, Ján Morovic2, Peter Klammer3, Javier Maestro1, Garry Hinch3, and James Stasiak3; 1HP Inc. (Spain), 2HP Inc. (UK), and 3HP Inc. (US)Estimation of Layered Ink Layout from Arbi-trary Skin Color and Translucency in Inkjet 3D Printer, Junki Yoshii1, Shoji Yamamoto2, Kazuki Nagasawa1, Wataru Arai3, Satoshi Kaneko3, Keita Hirai1, and Norimichi Tsumura1; 1Chiba University, 2Tokyo Metropolitan College of Industrial Technology, and 3Mimaki Engineering Corporation (Japan)A Psychovisual Study of Print Smoothness via Metameric Samples, Sergio Etchebehere and Peter Morovic, HP Inc. (Spain), and Ján Morovic, HP Inc. (UK)


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Want to find others at CIC interested in atechnical topic not covered at CIC thatyou’d like to discuss more? Convene agroup during a coffee break. Contact [email protected] for details.

CONVENE A CONVERSATION

Thursday 24 October 2019

9:00 – 10:00THURSDAY KEYNOTEThe Chromatic Pyramid of Visibility, AndrewB. Watson, Apple Inc. (US)

10:00 – 12:00COLOR PERCEPTIONModelling the Simultaneous Colour ContrastEffect, Yuechen Zhu and Ming Ronnier Luo,Zhejiang University (China)Perceptual Estimation of Diffuse White Levelin HDR Images, Fu Jiang and Mark Fairchild,Rochester Institute of Technology (US), andKenichiro Masaoka, NHK Science & Technology Research Laboratories (Japan)Temporary Tritanopia: Effects of CataractSurgery on Color, John McCann, McCannImaging (US)JIST-FIRST Color Vision Differences FollowingRetinal Detachment and SubsequentCataract Surgery, Susan Farnand1, RajeevRamchandran2, and Mark Fairchild1;1Rochester Institute of Technology and 2University of Rochester (US)

12:00 – 12:45TWO-MINUTE INTERACTIVE(POSTER) PAPER PREVIEWS IIInfluence of Texture Structure on the Perception of Color Composition, Jing Wang,Bloomberg LP (US); Jana Zujovic, Google (US);June Choi, Accenture (US); BasabduttaChakraborty, Amway (US); Rene van Egmondand Huib de Ridder, Delft University of Technology (the Netherlands); and ThrasyvoulosN. Pappas, Northwestern University (US)Chromaticity Coordinates for Graphic Artsbased on CIE 2006 LMS with Even Spacingof Munsell Colours, Richard A. Kirk, FilmLightLtd. (UK)Impact of Matching Primary Peak Wave-length on Color Matching Accuracy and Observer Variability, Jiaye Li, Kevin Smet,and Peter Hanselaer, KU Leuven (Belgium)Comparing the Chromatic Contrast

Sensitivity in Vertical and Oblique Orientations, Seyed Ali Amirshahi and MariusPedersen, Norwegian University of Scienceand Technology (Norway)Modelling Incomplete Chromatic Adaptationon a Display under Different Ambient Illumi-nations, Rui Peng1 and Ming Ronnier Luo1,2;1Zhejiang University (China) and 2University ofLeeds (UK)Real-world Environment Affects the ColorAppearance of Virtual Stimuli Produced byAugmented Reality, Siyuan Chen andMinchen Wei, Hong Kong Polytechnic University (Hong Kong)Colour Image Enhancement using PerceptualSaturation and Vividness, Muhammad Safdar, Jon Yngve Hardeberg, and NoemiePozzera, Norwegian University of Scienceand Technology (Norway)New Metrics for Evaluating Whiteness ofFluorescent Samples, Xi Lv1, Yuzhao Wang1,Minchen Wei2, and Ming Ronnier Luo1; 1Zhejiang University and 2The Hong KongPolytechnic University (China)


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THURSDAY KEYNOTEThe Chromatic Pyramid of Visibility, Andrew “Beau” Watson, Apple Inc. (US)

The Pyramid of Visibility is a simplifiedmodel of the spatio-temporal luminancecontrast sensitivity function (Watson andAhumada 2016). It posits that log sensi-tivity is a linear function of spatial fre-quency, temporal frequency, and log lu-minance. It is valid only away from thespatiotemporal frequency origin.Though very useful in a range of appli-cations, the pyramid would benefit froman extension to the chromatic domain. Inthis talk, I describe our efforts to developthis extension. Among the issues we ad-dress are the choice of color space, thedefinition of color contrast, and how tocombine sensitivities among multiplepyramids.


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No-Reference Image Quality Metric forTone-Mapped Images, Muhammad UsmanKhan, Imran Mehmood, Ming Ronnier Luo,and Muhammad Farhan Mughal, ZhejiangUniversity (China)Least Squares Optimal Contrast Limited Histogram Equalisation, Jake McVey andGraham Finlayson, University of East Anglia(UK)Benchmark of Metrics for the Assessment of360-degree Images Quality, Chaker Larabi,University of Poitiers (France)Tone Mapping Operators Evaluation Basedon High Quality Reference Images, ImranMehmood, Muhammad Usman Khan, MingRonnier Luo, and Muhammad Farhan Mughal,Zhejiang University (China)Colorimetric Determination of Vanadium inWater Samples, Asli Beyler Çigil, AmasyaUniversity, and Oya Aydin Urucu and EmineArman Kandirmaz, Marmara University(Turkey)

New Design of pH-responsive PackagingMaterials for Milk, Asli Beylerr Çigil, AmasyaUniversity, and Memet Vezir Kahraman, Marmara University (Turkey)Improvement of Blood Pressure Estimationfrom Face Video using RGB Camera, Ryo Takahashi1, Kenta Masui1, Keiko Ochiai-Ogawa2, and Norimichi Tsumura1;1Chiba University and 2Kanazawa UniversityHospital (Japan)Measuring, Modeling, and Reproducing Material Appearance from Specular Profile,Shoji Tominaga, Norwegian University of Science and Technology (Norway)MCS 2019 Exposure Invariance in SpectralReconstruction from RGB Images, Yi-Tun Linand Graham D. Finlayson, University of East Anglia (UK)MCS 2019 Estimation of Blood Concentra-tions in Skin Layers with Different Depths,Kaito Iuchi1, Rina Akaho1, Takanori Igarashi2, Nobutoshi Ojima2, and Norimichi Tsumura1;1Chiba University and 2Kao Corporation(Japan)MCS 2019 Deep Learning for Dental Hyperspectral Image Analysis, OleksandrBoiko, Joni Hyttinen, Pauli Fält, Heli Jäsberg,Arash Mirhashemi, Arja Kullaa, and MarkkuHauta-Kasari, University of Eastern Finland (Finland)MCS 2019 Spectral Image Recovery fromSpectral Filter Array Cameras using LMMSE,Prakhar Amba and David Alleysson, LPNC,CNRS (France)

IMAGING AND ART Scientific Imaging for Cultural Heritage(Invited Focal), Clotilde Boust, Centre derecherche et de restauration des muséesde France (France)

Scientific imaging is an important part ofconservation sciences developed in mu-seum laboratories. This is mainly be-cause it is noninvasive, a decisive ad-vantage to studying unique artworks.Various 2D and 3D optical techniquesusing several radiations (visible, UV, IR,X-rays) lead to a precise state report ofthe artwork, for color, shape, and sur-face on first intention. Depending on theobject’s conservation question, more in-vestigation can be done to detect origi-nal or restauration materials or fabrica-tion techniques. Several examples ofimaging for art conservation are present-ed, with a focus on color collections andmultimodal images.

Show the hardware, software, test charts,images, etc. that you are working on.Open to all, the Demonstration Session allows attendees to view and interact with“products” discussed during presentationsor in the hallways. Demonstrations occurduring the Friday morning coffee break. Interested in participating? Contact DonnaSmith at [email protected].

DEMONSTRATION SESSION

MCS 2019 Development of the Stool ColorCard for Early Detection of Biliary Atresiausing Multispectral Image, Masaru Tsuchida1,Hideaki Gunji2, Hideki Nakajima3, TakahitoKawanishi1, Kunio Kashino1, and Akira Matsui3;1NTT Corporation, 2Japan Association ofGraphics Arts Technology, and 3National Centerfor Child Health and Development (Japan)


14:00 – 15:20COLOR APPEARANCEVividness as a Colour Appearance Attribute,Helene Midtfjord, Phil Green, and Peter Nussbaum, Norwegian University of Scienceand Technology (Norway)Consistent Colour Appearance—A NovelMeasurement Approach, Marco Mattuschka,Andreas Kraushaar, and Philipp Tröster, FograForschungsinstitut für Medientechnologien e.V.(Germany)Change of Color Appearance Due to Extremely High Light Level: CorrespondingColors, Wenyu Bao and Minchen Wei, TheHong Kong Polytechnic University (Hong Kong)Measurement of CIELAB Spatio-chromaticContrast Sensitivity in Different Spatial andChromatic Directions, Vlado Kitanovski1, Alastair Reed2, Kristyn Falkenstern2, and Marius Pedersen1; 1Norwegian University ofScience and Technology (Norway) and 2Digimarc Corporation (US)

15:20 – 17:00INTERACTIVE SESSION

17:00 – 17:30IMAGING AND ARTScientific Imaging for Cultural Heritage (Invited Focal), Clotilde Boust, Centre derecherche et de restauration des musées deFrance (France)

19:00 – 21:00CONFERENCE RECEPTIONJoin colleagues for a wonderful evening of net-working, food, and wine in a special Paris location TBA.

Friday 25 October 2019

9:00 – 10:10CLOSING KEYNOTE AND IS&TAND CIC AWARDSLet There Be Light: An AR Immersive Experience, Panagiotis-Alexandros Bokaris,L'Oréal (France)

10:10 – 12:40DISPLAYSEstimating OLED Display Device Lifetimefrom Pixel and Screen Brightness and its Application, Jeremie Gerhardt1, Michael E.Miller2, Hyunjin Yoo1, and Tara Akhavan1;1IRYStec Software Inc. (Canada) and2LodeSterre Sciences, Ltd. (US)Illuminant Estimation Through a Reverse Calibration of AWB Image That ContainsDisplays, Taesu Kim, Eunjin Kim, and Hyeon-Jeong Suk, KAIST (South Korea)Smartphone-based Measurement of theMelanopic Daylight Efficacy Ratio,Marcel Lucassen, Dragan Sekulovski, and Tobias Borra, Signify Research (the Netherlands)Quantitative Assessment of Color Trackingand Gray Tracking in Color Medical Displays, Wei-Chung Cheng, Chih-Lei Wu,and Aldo Badano, US Food and Drug Administration (US)Assessing Colour Differences under a WideRange of Luminance Levels using Surfaceand Display Colours, Qiang Xu1, GuihuaCui2, Muhammad Safdar3, Ming RonnierLuo1, and Baiyue Zhao1; 1Zhejiang University(China), 2Wenzhou University (China), and3COMSATS Institute of Information Technology(Palestine)


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2019 Land Medal Winner Camera Optics:The CAOS Camera – Empowering Full Spectrum Extreme Linear Dynamic RangeImaging, Nabeel Riza, University CollegeCork (Ireland)


14:00 – 15:00APPLICATIONS & ANALYSISJIST-FIRST Deep Learning Approaches forWhiteboard Image Quality Enhancement,Mekides Assefa Abebe and Jon Yngve Hardeberg, Norwegian University of Scienceand Technology (Norway)Analyzing Color Harmony of Food Images,Gianluigi Ciocca, Paolo Napoletano, andRaimondo Schettini, University of Milano-Bicocca, and Isabella Gagliardi and MariaTeresa Artese, National Research Council ofItaly (Italy)Physical Noise Propagation in Color ImageConstruction: A Geometrical Interpretation,Axel Clouet and Jérôme Vaillant, CEA-LETI,and David Alleysson, Université GrenobleAlpes (France)

15:40 – 17:0020TH INTERNATIONAL SYMPOSIUM ON MULTISPECTRALCOLOUR SCIENCE (MCS 2019)There are five Interactive (Poster) Papers thatare also part of MCS 2019. See page 7.

Polarized Multispectral Imaging for the Diagnosis of Skin Cancer, Laura Rey Barroso1, Francisco Javier Burgos Fernández1,Fernando Díaz Douton1, Sara Peña Gutiérrez1, Satiago Royo Royo1, Josep Malvehy Guilera2, Susana Puig Sardá2, XanaDelpueyo Espanyol1, Giovanni Pellacani3,and Meritxell Vilaseca Ricart1; 1UniversidadPolitécnica de Cataluña (Spain), 2Clinic Hospital of Barcelona (Spain), and 3Universitàdi Modena e Reggio Emilia (Italy)

Relative Spectral Difference Occurrence Ma-trix: A Metrological Spectral-spatial Featurefor Hyperspectral Texture Analysis, Rui JianChu, Noël Richard, and Christine Fernandez-Maloigne, Universite de Poitiers (France), andJon Yngve Hardeberg, Norwegian Universityof Science and Technology (Norway)Appearance Reconstruction of FluorescentObjects based on Reference Geometric Fac-tors, Shoji Tominaga, Norwegian Universityof Science and Technology (Norway), andKeita Hirai and Takahiko Horiuchi, Chiba University (Japan)

17:20 – 17:30CLOSING REMARKS AND BESTSTUDENT PAPER AWARD


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CLOSING KEYNOTELet There Be Light: “An AR ImmersiveExperience”, Panagiotis-AlexandrosBokaris, L'Oréal (France)

Video-projected augmented reality offersunique immersive experiences while itchanges the way we perceive and inter-act with the world. By projecting on real-world objects we can change their ap-pearance and create numerous effects.Due to physical limitations and the com-plexity of such AR systems, color cali-bration, and processing for desired ap-pearance changes require to bespecifically addressed.This talk focuses on the challenging as-

pects of video-projected AR systems com-posed of video projectors and cameras:geometric calibration, latency, color cal-ibration, and characterization of desiredeffects. Such an AR solution developed atL’Oréal is presented to demonstrate ap-plications in beauty industry.


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MONDAY 21 OCTOBER 2019

EIGHT-HOUR CLASSSC01: Color and Imaging8:30 – 17:45 (8 hours)Instructor: Gaurav Sharma, University ofRochesterLevel: Introductory

This course provides a comprehensive intro-duction to the fundamentals of color percep-tion, measurement, and representation. Thecourse begins with the psychophysics of col-or, relating physical descriptions of color,through stages of the human visual system, toperceptual attributes of hue, saturation, andlightness. The anatomy and physiology of thevisual system stages are briefly described.From there, basic colorimetric and perceptu-al color representations are developed, witha particular focus on CIE standards such asthe CIEXYZ tristimulus space and the CIELABand CIELUV perceptually uniform colorspaces. Chromaticity representations are dis-cussed as convenient 2D visualization tools.

Benefits: Attendees will be able to:• Describe the basic findings from colormatching experiments and the concept oftrichromacy.

• Transform between commonly used colorspace representations.

• Describe how these color representationsrelate to the stages of the human visualsystem.

• Discuss chromatic adaptation and its critical role in color perception.

• Understand and differentiate among illuminant, observer, and devicemetamerism.

• Understand the utility of uniform colorspaces and color appearance attributes.

Intended Audience: scientists, engineers, students,and managers involved in the design of color processing algorithms or color imagingsystems.

Gaurav Sharma has more than two decades ofexperience in the design and optimization of col-or imaging systems and algorithms that spans em-ployment at the Xerox Innovation Group and hiscurrent position as a professor at the University ofRochester in the departments of electrical andcomputer engineering and computer science.Additionally, he has consulted for several com-panies on the development of new imaging sys-tems and algorithms. He holds 51 issued patentsand has authored more than 200 peer-reviewedpublications. He is the editor of the Digital ColorImaging Handbook (CRC Press) and served asthe editor-in-chief for the IS&T/SPIE Journal ofElectronic Imaging (2011-2015). Sharma is aFellow of IS&T, IEEE, and SPIE.

TWO-HOUR CLASSESNEW SC02: Solving Color Problems Using VectorSpace Arithmetic8:00 – 10:00 (2 hours)Instructor: Michael Vrhel, Artifex Software, Inc.Level: Intermediate

Matrices and vectors have been used fordecades to model color technologies. Be-sides allowing the modeling of complex sys-tems, this notation is readily implemented invector-based languages like MATLAB. Forsome, this material can be overwhelming.The goal of the course is to make this ap-proach to color science problems accessibleto everyone. We will first review the basics ofmatrices and vectors including the conditionsunder which this notation can be used for col-or systems. Models in the area of colorrecording, reproduction, measurement, andtransformation are covered. Optimizationmethods are reviewed, including the determi-

CIC27 Short Course Program


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TUESDAY COURSES / WORKSHOPS

8:00 – 10:00 10:15 – 12:15 13:30 – 17:45

8:30 – 17:45 SC01: Color and Imaging

8:30 – 17:45 (TBC) GDR APPAMAT Material Appearance Workshop (bit.ly/CIC27_MAWS)

NEW SC02: Solving Color Problems Using Vector . . .

SC03: The Art of MakingBetter Pixels . . .

SC05: Color and Appearancein 3D Printing

SC09: Characterizing Surface Appearance

W1: Future Directions inImage Quality

SC06: Fundamentals of Psychophysics

REVISED FOR 2019 SC10:Spatial Color Perception . . .

SC13: Color Fundamentals in LED Lighting

W2: Lighting and ChromaticAdaptation

SC11: Color Optimization for Displays

NEW SC07: Digital Cinema Environment & IQ Evaluation

SC14: Using the New ColourMgmt Technology, iccMAX . . .

W3: Art & Science of High-End Digital Color Print-Making

NEW SC15: Color ImagingChallenges: Mobile Phone Optics

W4: Cultural Heritage Digitalization

Adv

anced

Topics

Color

Basics

Color an

d

Cameras

Optim

izing

Color

Viewing &

Proc

essing

Color

App

eara

nce

8:00 – 10:00 10:15 – 12:15 13:30 – 15:30 15:45 – 18:15

SC08: Camera Color Characterization: Theory and Practice

REVISED FOR 2019SC12: Adv. Colorimetry . . .

EXPANDED FOR 2019 SC04: The Human Imaging Pipeline:Color Vision and Visual Processing . . .

MONDAY COURSES / WORKSHOPS

nation of closed form solutions. For thoseproblems that cannot be solved directly, nu-merical methods are required. In these cas-es, we turn to the use of MATLAB to model ex-ample systems. With the models in place, wedemonstrate the use of MATLAB’s optimiza-tion methods to determine a solution.

Benefits: Attendees will be able to:• Understand the matrix-vector equations of-ten seen at color conferences and in colorjournals.

• Express their own color systems in termsof vectors and matrices as well as knowwhen it is appropriate to do so.

• Determine closed form solutions tooptimization problems in color.

• Implement their models in MATLAB andapply numerical optimization methods.

Intended Audience: engineers, students, andthose wishing to have a firmer understanding

of the mathematical modeling and optimiza-tion of color systems.

Michael Vrhel has more than 30 years’ experi-ence in color imaging. He received a PhD inelectrical engineering from North Carolina StateUniversity. During his PhD studies he was a Kodak Fellow. He was a research associate withthe National Research Council and has held positions at Color Savvy Systems, Conexant Systems, TAK Imaging, Pagemark Technology,and Artifex Software. He is the co-author of TheFundamental of Digital Imaging from CambridgeUniversity Press.

Interested in taking a class, but lackfunding? Volunteer to be a course monitor. Contact [email protected] given to students.

SHORT COURSE MONITORS


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SC03: The Art of Making Better Pixels: High Dynamic Range Display Concepts and Technologies10:15 – 12:15 (2 hours)Instructor: Timo Kunkel, Dolby Laboratories, Inc.Level: Introductory

The field of High Dynamic Range imaging orHDR was coined more than 20 years agoand has been evolving ever since. Over time,various building blocks have been designedthat are suitable to form perceptually-correct,artistically-compelling, and technologically-efficient HDR imaging systems. Now, asthose technologies are implemented into anincreasing number of mainstream devices, itis important to keep track of several key per-ceptual and technological concepts in orderto avoid pitfalls that can impact image fideli-ty when processing, transmitting, and dis-playing HDR imagery. This course is intendedas an introduction into HDR display systemsand its related imaging pipelines.

Benefits: Attendees will be able to:• Understand how the human visual systemperceives the physical world around usand how HDR display technologies caterto this.

• Assess how we can display a plausibledepiction of the ‘real’ physical world andhow we convey artistic intent.

• Identify the importance of a display’swhite and black levels, its tone responsecurve, and quantization steps as well asits color volume.

• Explain the fundamentals of common HDRand Wide Color Gamut display technolo-gies such as full array dual modulation,OLED, Quantum Dot, and Mini/MicroLED-based display.

• Differentiate the considerations for creat-ing compelling content that lives up to thecapabilities of HDR displays.

Intended Audience: anyone working in image dis-play related fields such as display design,content creation, image transport and broad-

cast, and vision science. No direct previousknowledge is required, but a basic under-standing of traditional display and imagingconcepts is beneficial.

Timo Kunkel is a senior color and imaging re-searcher in the CTO office of Dolby Labs, Inc. Hehas been working with HDR imaging conceptsfor more than 15 years and his main areas of in-terest are advanced display and imaging tech-nologies and how we can continue bringingthem closer to human perception. He receivedhis PhD in computer science from the University ofBristol (UK) and a MSc from the University ofFreiburg (Germany).

FOUR-HOUR CLASSSC04: The Human Imaging Pipeline: Color Visionand Visual Processing from Optics to PerceptionExpanded for 201913:30 – 17:45 (4 hours)Instructor: Andrew Stockman, UCL Institute ofOphthalmologyLevel: Intermediate

The course covers human color vision and vi-sual processing from the optics of the eye tohigh-level color perception and cognition. Top-ics include physiological optics and light, thephotoreceptor sensor array, univariance andthe trichromacy of human color vision, pho-toreceptor spectral sensitivities and colourmatching, melanopsin and intrinsically photo-sensitive retinal ganglion cells, color-opponentand non-opponent encoding and processingof color signals after the cone photoreceptors,neural processing of visual signals and paral-lel pathways from eye to brain, color in thecortex, color after-effects, color constancy, col-or contrast and assimilation, color categories,and color and cognition. Individual differ-ences and color vision deficiencies, which cansubstantially affect the individual’s experienceare described along with their underlying ge-netic causes. Best practices are reviewed forusing the Stockman & Sharpe (2000) LMScone fundamentals and XYZ color matchingfunctions that form the new CIE 2006 and


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2015 TC 1-36 colorimetry standards. Visualeffects and illusions are demonstrated to illus-trate many of phenomena discussed.

Benefits: Attendees will be able to:• Have a fundamental understanding of hu-man color vision and visual processingand its properties, limitations, and indi-vidual differences.

• Improve optimization choices amongstsensors, imaging pipelines, and displays.

Intended Audience: scientists and engineers inter-ested in understanding human color visionand visual processing.

Andrew Stockman is the Steers Professor at theUCL Institute of Ophthalmology. His research ar-eas include color vision, rod vision, visual adap-tation, and temporal sensitivity. He may be bestknown for his work with Ted Sharpe on spectralsensitivities and luminous efficiency. He is the prin-cipal author of the widely-used colour database athttp://www.cvrl.org. In 2016 he received theColour Group Newton medal, and in 2018 theInter-Society Color Council Macbeth Award.

TUESDAY 22 OCTOBER 2019

TWO-HOUR CLASSES

8:00 – 10:00SC05: Color and Appearance in 3D Printing8:00 – 10:00 (2 hours)Instructor: Philipp Urban, Fraunhofer Institute forComputer Graphics Research IGDLevel: Intermediate

Novel 3D printers can combine multiple col-orful materials in a single object enabling thereproduction of an object’s color, texture,gloss, and translucency in addition to itsshape. This short course provides anoverview of the relevant 3D printing tech-nologies and focuses on the color and ap-pearance reproduction pipeline.

Benefits: Attendees will be able to:• Understand the basic concepts of 3Dprinting as they relate to color and appearance.

• Understand the differences between theexisting color-capable 3D printing technologies.

• Describe ways to represent color and other appearance properties attached to3D shapes.

• Learn the main principles of the 3D colorreproduction pipeline.

• Have a basic understanding of 3D surface halftoning.

Intended Audience: attendees wishing to becomemore familiar with the opportunities and chal-lenges of the emerging field of graphical 3Dprinting, which may include color and imag-ing specialists, 3D printer designers, andsoftware developers.

Philipp Urban is head of the Competence Center3D Printing Technology at the Fraunhofer IGD inDarmstadt, Germany, where he works on the ap-pearance reproduction of objects using multimate-rial 3D printers. He is also an adjunct professor atthe Norwegian Colour and Visual ComputingLaboratory, Department of Computer Science,Norwegian University of Science and Technology(NTNU), Gjovik, Norway. During his career hehas been a visiting scientist at the Munsell ColorScience Laboratory at RIT and head of the color

Short Course FeesSeparate registration is required. Fees in US$.

If you register: by 22 Sept after 22 Sept2-hour Member $185 $2352-hour Non-member $210 $2602-hour Student $65 $90

4-hour Member $290 $3404-hour Non-member $315 $3654-hour Student $95 $120

8-hour Member $510 $5608-hour Non-member $560 $6108-hour Student $195 $220

IS&T reserves the right to cancel classes in the event ofinsufficient advance registration. Please register early.


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research group at TU Darmstadt. He holds an MSin mathematics from University of Hamburg and aPhD from Hamburg University of Technology.

SC06: Fundamentals of Psychophysics8:00 – 10:00 (2 hours)Instructor: James A. Ferwerda, Rochester Instituteof Technology Level: Intermediate

Psychophysical methods from experimentalpsychology can be used to quantify the rela-tionships between the physical properties ofthe world and the qualities people perceive.The results of psychophysical experiments canbe used to create models of human perceptionthat can guide the development of effective col-or imaging algorithms and enabling interfaces.This course provides an introduction to the the-ory and practice of psychophysics and teach-es attendees how to develop experiments thatcan be used to advance color imaging re-search and applications. Hands-on examplesare used throughout so that attendees under-stand how to design and run their own experi-ments, analyze the results, and develop per-ceptually-based algorithms and applications.

Benefits: Attendees will be able to:• Identify the major techniques for measur-ing perceptual thresholds and scales.

• Design perception experiments usingthese techniques.

• Analyze the data from these experimentsto derive perceptual metrics.

• Apply these metrics to practical problemsin color imaging.

Intended Audience: students and professionalswho want to be able to interpret the results ofperception psychology experiments and de-velop their own perception studies. The courseassumes a basic level understanding of issuesin color and imaging science, engineering,and statistics. No specific knowledge of per-ception psychology is required. All relevantconcepts are introduced in the class.

James A. Ferwerda is an associate professor and the Xerox Chair in the Chester F. Carlson Center for Imaging Science at the Rochester Institute of Technology. He received a BA in psychology, MS in computer graphics, and a PhD in experi-mental psychology, all from Cornell University. The focus of his research is on building compu-tational models of human vision from psy-chophysical experiments and developing ad-vanced imaging systems based on these models.

NEW SC07: Digital Cinema Environment and Image Quality Evaluation10:15 – 12:15 (2 hours)Instructors: Miloslav Novák, Silesian University and Antonín Charvát, EIZO Group Level: Intermediate

The digital cinema environment–the umbrella of the projector, portal, screen, ambient light, and cinema architecture–is examined from the invention of cinematography to the pres-ent, in relation to the spectator's perception. Practical methods of measurement, calibra-tion, and image quality evaluation of digital cinema projectors and displays using ISO and SMPTE international standards and test images are explained.First, the course demonstrates new guide-

lines for faster, simpler, and more precise lu-minance and chrominance measurement us-ing a photospectro radiometer, DCP player, and D-Cinema 4K display. Next, we de-scribe the calibration principles of the D-Cin-ema projector using P7 color space correc-tion. Finally, we provide an overview of techniques for the determination of measured photometric and colorimetric deviations from the ISO and SMPTE standards with several tools for advanced graphical analysis (ADA) using polarograms and CIEDE2000 formula to better understand specific cinema low lev-el light conditions.

Benefits: Attendees will be able to:• Understand the complexity and terminologyof the digital cinema environment and learn

about its similarity to the analog 35mm filmprojection in cinema history context.

• Measure luminance and colorimetric coordinates deviation from the referenceprojector or display and evaluate qualityof the measuring device.

• Apply digital cinema projector and display calibration process step-by-step.

• Learn the techniques for objective andsubjective image quality evaluation of theprojector or display using ISO andSMPTE standard image tests for digitalcinema, including advanced graphicalanalysis of the measured data.

• Distinguish strengths and weaknesses ofthe digital cinema projectors and displayswith different manufacturer’s technologies.

Intended Audience: anyone interested in DigitalCinema projection or imaging on display inenvironments optimized for mesopic vision inlow light-level conditions. Students, re-searchers, color grading artists, filmmakers,cinema operators, and other users who wantto apply SMPTE and ISO standards and im-age tests for digital cinema measurement,calibration, and image evaluation for the pro-duction of superior imaging experiences.

Miloslav Novák graduated from Film Academyof Miroslav Ondrícek where he received his DiplTech and continued his studies at the Faculty ofArts of Charles University in Prague. He receivedhis MA (2008) in documentary filmmaking at theAcademy of Performing Arts in Prague after grad-uating their editing department (2002). Since2011, he has been teaching audiovisual tech-nology and restoration at the Silesian Universityin Opava and at the Academy of Performing Artswhere he is completing his PhD study. He hasbeen cooperating with various film and photoarchives, museums, and restoration labs as theresearcher, technology supervisor, and/or restor-er inland and abroad.

Antonín Charvát graduated the faculty of elec-trical engineering of the Czech Technical Univer-sity with a MSc (1986) in cybernetic and com-puters. He dedicated his career to the field of

image technologies (displays, printing, photo,and video facilities, as well as digital cinema).Now he is director of the EIZO Group in theCzech Republic and Slovakia. He has givenworkshops focused on color management andimage technologies in different higher education-al programs at various Czech and Slovakschools. There he prepared and tested differentimage technology postproduction workplaces forstudents.

10:15 – 12:15

SC09: Characterizing Surface Appearance10:15 – 12:15 (2 hours)Instructor: James A. Ferwerda, Rochester Instituteof TechnologyLevel: Intermediate

Surface appearance is of critical importancein a wide variety of fields including design,manufacturing, forensics, medicine, and cul-tural heritage preservation. This class first in-troduces a framework for characterizing sur-face appearance that includes the visualattributes of color, gloss, translucency, andtexture. It then reviews efforts that have beenmade to measure these attributes, and de-scribe the psychophysical methods that areused to relate the physical properties of sur-faces to their visual appearances. Finally, thepotential for using computer-graphics tech-niques to simulate the appearances of com-plex surfaces is discussed, and how new dig-ital imaging technologies are being used toadvance the measurement, modeling, visuali-zation, and communication of surface appearance is described.

Benefits: Attendees will be able to:• Identify the factors that contribute to theappearances of complex surfaces.

• Understand the physical bases of surfaceappearance and how these bases aremeasured.

• Learn about the psychophysical methodsused to relate the physical and perceptual


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aspects of surface appearance.• Distinguish the different systems used todescribe and communicate surface appearance.

• Comprehend how computer-graphics anddigital imaging techniques are rapidlyadvancing the state-of-the-art in surfaceappearance characterization.

Intended Audience: students and professionalswho want to understand the physics and psy-chophysics of surface appearance. Thecourse assumes a basic level understandingof issues in color/imaging science and engi-neering. All specialized concepts will be in-troduced in class.

James A. Ferwerda is an associate professor andthe Xerox Chair in the Chester F. Carlson Centerfor Imaging Science at the Rochester Institute ofTechnology. He received a BA in psychology,MS in computer graphics, and a PhD in experi-mental psychology, all from Cornell University.The focus of his research is on building compu-tational models of human vision from psy-chophysical experiments, and developing ad-vanced imaging systems based on these models.

Revised for 2019 SC10: Spatial Color Perceptionand Image Processing10:15 – 12:15 (2 hours)Instructor: Edoardo ProvenziLevel: Intermediate

This short course is divided in two parts, fo-cusing on spatial induction, i.e., the modifi-cation of color perception of a point causedby a non-uniform surround, which plays animportant role in image processing. To notejust a few applications, it is used as a mainingredient to devise color enhancement algo-rithms and tone mapping operators in thehigh dynamic range imaging field. The firsthour provides a detailed description of a psy-chophysical technique for measuring the rel-ative strength of spatial induction focusing, atfirst, on a very simple geometrical configura-

tion and then extending it to more complexand realistic ones. During the following hour,we analyze a variational model that formal-izes and extends the previous description toa more general framework that accounts alsofor cognitive phenomena.

Benefits: Attendees will be able to:• Understand the important perceptual phenomenon of visual induction.

• Learn a simple mathematical model forcolor induction and how to implement itthrough psychophysical experiments.

• Be introduced to the very powerful con-cept of variational model, universallyused in imaging.

Intended Audience: The course is intended for avery broad audience: master and PhD students, post-doc researchers, scientists, orengineers working in the following disci-plines: color science, colorimetry, image pro-cessing (especially spatially-varying color en-hancement and tone mapping of HDRimages), psychophysics or cognitive, andperceptual psychology.More generally, anyone who wishes to get

acquainted about some very modern theoriesof color vision, based on the rediscovery ofsome profound and beautiful works of our an-cestors. This modern vision puts in evidence theneed of performing new and fascinating psy-chophysical experiments, which have the po-tential to lead to the future era of colorimetry.A general knowledge of calculus and linear al-gebra is required to fully grasp the conceptsthat are discussed. A basic knowledge of psy-chophysics is not necessary but it would behelpful for the sake of a better interaction.

Edoardo Provenzi obtained a master in theoreticalphysics at the University of Milan (2000) and a PhDin applied mathematics at the University of Genoa(2004). Since 2004, he has been studying colorvision and image processing. He is currently work-ing in these research fields: color science, geome-try of color space, statistics of natural images, andvariational techniques in imaging. He worked as


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associate professor from 2014 to 2017 at the Uni-versity Paris Descartes. He is Full Professor of Ap-plied Mathematics in the Image Processing Group at the University of Bordeaux since 2017, where he is in charge of the Master program on mathematics for signals and images. He is the author of the book: Computational Color Science: Variational Retinex-like Methods, Wiley & Sons Eds. (2017).

SC11: Color Optimization for Displays8:00 – 10:00 (2 hours)Instructor: Gabriel Marcu, Apple Inc.Level: Intermediate

This course introduces color optimization techniques for various display types (LCDs, plasma, OLED, QLED, and projection: DLP, LCD, LcoS), and ranging from mobile devices to large LCD TV screens. Factors such as tech-nology, luminance level (including HDR), dy-namic/static contrast ratio (including local dimming), linearization and gamma correc-tion, gray tracking, color gamut (including wide gamut), white point, response time, viewing angle, uniformity, color model, calibration, and characterization are dis-cussed and color optimization methods for displays are presented.

Benefits: Attendees will be able to:• Identify the critical parameters and theirimpact on display color quality for smartphones, tablets, notebooks, desktops,LCD TVs, and projectors.

• Compare color performance and limita-tions for various LCD modes like IPS,MVA, FFS.

• Understand the critical factors for HDRdisplays and wide gamut displays.

• Understand the advantages of the LEDbacklight modulation and the principlesof quantum dot gamut enhancement forQLED technology.

• Select the optimal color model for adisplay and highlight its dependency ondisplay technology.

• Understand the use of the color model for

the display ICC profile and the implicationfor the color management.

• Follow a live calibration and characteri-zation of an LCD screen and projectorused in the class, using tools varying fromvisual calibrator to instrument based ones.

• Apply the knowledge from the course topractical problems of color optimizationfor displays.

Intended Audience: engineers, scientists, man-agers, pre-press professionals, and thoseconfronting display related color issues.

Gabriel Marcu is a senior scientist at Apple Inc.His achievements are in color reproduction ondisplays and desktop printing (characteriza-tion/calibration, halftoning, gamut mapping,ICC profiling, HDR imaging, RAW color conver-sion). He holds more than 80 issued patents inthese areas. Marcu is responsible for color cali-bration and characterization of Apple desktopdisplay products. He has taught seminars andcourses on color topics at various IS&T, SPIE, andSID conferences and IMI Europe. He was co-chair of the 2006 IS&T/SPIE Electronic ImagingSymposium and CIC11; he is co-chair of theElectronic Imaging Symposium’s Color ImagingConference: Displaying, Hardcopy, Processing,and Applications. Marcu is an IS&T and SPIE Fellow.

Take 3 or more courses and get 10% off your total short course

registration fee!

See registration form for details. Use 2019Pick3 coupon code

if registering online.

10% SAVINGS


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13:30 – 15:30

Revised for 2019 SC12: Advanced Colorimetryand Color Appearance13:30 – 15:30 (2 hours)Instructor: Gaurav Sharma, University ofRochesterLevel: Introductory

Building on a foundation in basic color sci-ence and colorimetry, this course provides at-tendees a broad understanding of color ap-pearance phenomena and introduces them tocolor appearance modeling. The relationshipof these important color appearance phe-nomena to the state of adaptation of the hu-man visual system is explained. Studentslearn the perceptual color attributes of light-ness, brightness, colorfulness, saturation,chroma, and hue. The course presents wide-ly-used computational models for evaluatingcorrelates of these attributes. Spatial aspectsof color vision are discussed, as well as sim-ple models for spatial color perception.

Benefits: Attendees will be able to:• Understand how changes in the state ofvisual adaptation affect the perceived appearance of colors.

• Identify the main elements of a color appearance model and explain the critical role of chromatic adaptation incolor appearance.

• Describe the Von Kries model for chro-matic adaptation transformations, andperform computations using the model.

• List additional psycho-physical effectsmodeled by CIECAM02 and CAM16 color appearance models.

• Understand how models such asCIECAM02 and CAM16 are used in color management.

• Outline the basic characteristics spatialcolor perception.

Intended Audience: color engineers, research sci-entists, and software developers involved indesign and optimization of color imaging

systems, algorithms, and devices. Priorknowledge of fundamental colorimetry is assumed.

Gaurav Sharma has more than two decades ofexperience in the design and optimization of col-or imaging systems and algorithms that spans em-ployment at the Xerox Innovation Group and hiscurrent position as a professor at the University ofRochester in the departments of electrical andcomputer engineering and computer science.Additionally, he has consulted for several com-panies on the development of new imaging sys-tems and algorithms. He holds 51 issued patentsand has authored more than 200 peer-reviewedpublications. He is the editor of the Digital ColorImaging Handbook (CRC Press) and served asthe editor-in-chief for the IS&T/SPIE Journal ofElectronic Imaging (2011-2015). Sharma is aFellow of IS&T, IEEE, and SPIE.

SC13: Color Fundamentals in LED Lighting13:30 – 15:30Instructor: Michael Murdoch, Rochester Instituteof TechnologyLevel: Intermediate

Color is one of the most important attributesof lighting, whether for general illuminationat home, commercial applications in retailand healthcare, or special applications likecinematography. Light-emitting diode (LED)technology has opened up enormous flexibil-ity in the design of lighting systems while si-multaneously increasing energy efficiencyover traditional technologies. The flexibility ofLED is both an opportunity and a curse:through spectral tuning, LEDs can maximizequality of light and preference for object col-or rendition – or if not done well, drasticallydistort object colors. Further, LED spectra canbe tuned to influence circadian rhythms viamelanopic response. This course explains theways that color, color rendition, chronobiolo-gy, and quality of light can be affected inLED as well as OLED lighting. It explores thedifferent ways systems produce white light,

including different phosphor technologies,primaries, and spectral tuning solutions.Measures of efficacy and color rendition areexplained, and situations where metrics andmeasures remain insufficient are discussed..

Benefits: Attendees will be able to:• Explain different LED color architectures,including RGB, RGBA, phosphor-convert-ed blue pump, tunable white, and warm-dim systems.

• Understand how spectral characteristicsof “white” LEDs affect rendered objectcolors and what this means for perceivednaturalness and preference.

• Understand multi-primary solution ap-proaches for creating spectral power dis-tributions from discrete LEDs with differentoptimization goals.

• Apply and compare color rendition meas-ures including CIE Ra, CIE Rf, TM-30 Rf/Rg.

• Evaluate spectral power distributions oflight for melanopic / chronobiological response.

Intended audience: scientists, engineers, and stu-dents using or interested in LED lighting systems for research, image capture, or image/product evaluation. Basic knowledgeof colorimetry is assumed, but no specializedknowledge of lighting is expected.

Michael Murdoch is an assistant professor inRochester Institute of Technology’s Munsell ColorScience Laboratory, where he teaches psy-chophysical methods, MATLAB programming,and lighting perception topics. His current re-search includes the effects of temporally dynamiclighting on visual adaptation and perceived rateof change, inter-observer effects on lighting colorrendition, and color appearance and visual adap-tation in augmented/mixed reality (AR/MR). Mur-doch has deep experience with color perceptionand system design for solid state lighting, LCD,and OLED displays, rooted in industrial work atKodak Research and Philips Research. He has co-authored more than 28 jour-nal and conference papers and 18 patents, and

he served as the general chair of CIC25 in Lillehammer. His education includes a BS in chem-ical engineering from Cornell, MS in computer sci-ence from RIT, and PhD in human-technology in-teraction from Eindhoven University of Technology.

SC14: Using the New Colour Management Technology, iccMAX: Architecture and PracticalApplications 13:30 – 15:30Instructor: Philip Green, Norwegian University ofScience and TechnologyLevel: Intermediate

ICC’s iccMAX colour management technolo-gy was published as an ISO standard in February 2019 and is now a stable platformfor development. iccMAX introduces manynew features and capabilities; foremostamong these is the move away from a fixedD50 colorimetric intermediate color space toan ability to connect profiles using any illu-minant or observer for colorimetric data orspectral data in any form. ICC has provideda Reference Implementation which greatlysimplifies the process of making profiles andapplying them to data and images. Thiscourse introduces the new features that iccMAX adds to color management and pro-vides detail on the most widely-used process-ing elements. It shows how to build profilesthat incorporate these elements and how to connect profiles, either to other iccMAX profiles or to v2 or v4 profiles. It also showshow to define a sub-set of the new specifica-tion for a particular use case.

Benefits: Attendees will be able to:• Identify the situations where iccMAX canbe used to address color managementneeds that cannot be handled in ICC v4.

• Learn how to use iccMAX in their own implementations, including both researchand commercial development.

• Generate iccMAX profiles and applythem to device data, colorimetry, andspectral data.


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Intended audience: attendees will have basicknowledge and experience of color manage-ment with ICC v2 or v4, and a desire to un-derstand the next-generation color manage-ment technology, iccMAX.

Philip Green is professor of colour imaging at theColour and Visual Computing Laboratory,NTNU, Norway. He supervises PhD and masterstudents and teaches courses on a range of col-or-related topics including cross-media color re-production and advanced color management.Green has been technical secretary of the Inter-national Color Consortium since 2005.

NEW SC15: Color Imaging Challenges with Compact Camera Optics13:30 – 15:30 (2 hours)Instructor: Kevin J. Matherson, Microsoft CorporationLevel: Introductory

This short course describes the color imagingchallenges created by the unique character-istics of compact camera modules, includingAR/VR, automotive, machine vision, andconsumer applications. First introduced arethe fundamentals of camera optics in smallformats for which the availability of suitablematerials impacts color quality. Steep chiefray angles result in spatially varying spectral-ly sensitivity and interact with the goniometricproperties of IR-cut filters, dielectric materials,sensor microlenses, color filter arraycrosstalk, and color shading. Also coveredare spherical aberration, spherochromatism,extended-depth-of-field imaging, sharpnesstransport algorithms, and the design of lens-es in which axial color is used to ensure allcolor planes are in focus. This short coursegives the attendee an understanding of thephysics and interaction of light, optics, andcolor as well as the algorithmic foundationsfor image signal processors in which the optics and ISP are jointly designed with thegoal of improving the overall system imagequality.

Benefits: Attendees will be able to:• Understand the fundamental challengesposed by compact camera optics on color image processing.

• Specify the color corrections required tocompensate for compact camera opticslimitations.

• Evaluate ISP-based solutions to correctchromatic aberrations and color shadingin compact camera systems.

Intended Audience: engineers, project leaders,and managers involved in camera imageprocessing, pipeline development, imagequality engineering, and production-linequality assurance, and those who want to understand the challenges of compact camera optics.

Kevin J. Matherson is a director of optical engi-neering at Microsoft Corporation working on ad-vanced optical technologies for consumer prod-ucts. Prior to Microsoft, he participated in thedesign and development of compact cameras atHP and has more than 15 years of experiencedeveloping miniature cameras for consumerproducts. His primary research interests focus onsensor characterization, optical system designand analysis, and the optimization of camera image quality. Matherson holds a masters andPhD in optical sciences from the University of Arizona.

FOUR-HOUR CLASS

SC08: Camera Color Characterization: Theory andPractice8:00 – 12:15 (4 hours)Instructors: Dietmar Wueller, Image EngineeringGmbH & Co. Kg, and Eric Walowit, consultantLevel: Intermediate

This short course covers the process of colori-metric camera characterization in theory andpractice. The need for camera characterizationand calibration and the impact on general im-age quality is first reviewed. Known issues in


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traditional approaches are discussed. Method-ology for building camera colorimetric trans-forms and profiles are detailed step-by-step.State-of-the-art solutions using current technolo-gy are presented including monochromators,multispectral LED light sources, in situ measure-ments of spectral radiances of natural objects,and modern color transform methods includingmultidimensional color look up tables. A livedemonstration is performed of the end-to-endprocess of spectral camera characterization,camera transform generation, and matchingfrom capture to display. This short course pro-vides the basis needed to implement advancedcolor correction in cameras and software.

Benefits: Attendees will be able to:• Understand the need for camera colori-metric characterization and the impact ofcolor calibration on image quality andmanufacturing yield.

• Perform target-based and spectral-basedcamera characterization.

• Solve for colorimetric camera transformsand build profiles using linear and nonlinear techniques.

• Evaluate current colorimetric camera characterization hardware and softwaretechnology and products.

• Participate in hands-on spectral cameracharacterization, camera transform gener-ation, and matching from capture to display.

Intended Audience: engineers, project leaders,and managers involved in camera imageprocessing pipeline development, imagequality engineering, and production-linequality assurance.

Dietmar Wueller studied photographic sciences(1987-1992) in Cologne. He is the founder ofImage Engineering, one of the leading suppliersfor test equipment for digital image capture de-vices. Wueller is a member of IS&T, DGPH, andECI; he is the German representative for ISO TC 42 WG 18 and also participates in severalother standardization activities.

Eric Walowit’s interests are in color manage-ment, appearance estimation, and image pro-cessing pipelines for digital photographic appli-cations. He is founder (retired) of Color SavvySystems, a color management hardware andsoftware company. He graduated from RIT’s Im-age Science program (1985), concentrating incolor science. Walowit is a member of ICC, ISOTC 42, IS&T, and CIEJTC10.


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CIC 27 take placein the Quartier Latin, 5e Arrondissement,a short walk fromthe iconic NotreDame, seen hereprior to the recentfire. Other nearbyhighlights includeJardine des Plantes,Musée de Cluny,Luxembourg Gardens, and theInstitue du MondeArabe. Ph

oto: Michael Murdoch.


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All workshops take place from 15:45 to18:15 after the short course program. Thegoal of CIC Workshops is to encourage dis-cussion and exchange of ideas.

Please Note: Workshops are included with afull conference registration; those not attend-ing the full conference may purchase a work-shop ticket that also includes admission to theWelcome Reception, which follows at 18:15.

W1: Future Directions in Image Quality15:45 – 18:15Chairs/Conveners: Marius Pedersen and SeyedAli Amirshahi, NTNU (Norway)

During the last few decades image quality as-sessment has been an important and attractivefield of research. While current state-of-the-artimage quality metrics show a high correlationwith subjective scores, many challenges stillexist. This workshop aims to bring expertsfrom both academia and industry to introducechallenges and possible directions needed tobe taken in subjective and objective imagequality assessment. A discussion and Q&Asession to address possible solutions for thesenew challenges rounds out the afternoon.

Confirmed speakers/topics:● Azeddine Beghdadi (Galilee Institute):

image enhancement and issues on qualityassessment

● Aladine Chetouani (Université d'Orléans– Polytech'Orléans): recent trends in machine learning for image quality

● Christophe Charrier, Université de CaenNormandie): image quality in biometrics

● Chaker Larabi (University of Poitiers): quality assessment of xr applications

● Claudio Greco (DxOMark Image Labs): color image quality assessment in smart-phones

● Seyed Ali Amirshahi (NTNU): future ofsubjective evaluation and crowdsourcing

● Razvan Lordache (GE Healthcare France): challenges in medical image quality assessment

● Frédéric Dufaux (University Paris-Sud): the future of video quality metrics

Marius Pedersen is a professor at the NorwegianUniversity of Science and Technology (NTNU)whose work is centered on image quality assess-ment. He holds more than 60 publications in thisfield. Pedersen received his PhD in color imaging(2011) from the University of Oslo. He is cur-rently the head of the computer science group inthe department of computer science, as well asthe head of the Norwegian Colour and VisualComputing Laboratory, both at NTNU.

Seyed Ali Amirshahi is a Marie Curie post-doctoral Fellow in the Norwegian Colour and Vi-sual Computing Laboratory at the NorwegianUniversity of Science and Technology (NTNU).His research is mainly focused on different as-pects of image and video quality assessment andcomputational aesthetics. He received his PhDfrom the Friedrich Schiller University of Jena inGermany (2015). Prior to joining NTNU, he wasa post-doctoral Fellow at the International Com-puter Science Institute in Berkeley, California.

W2: Lighting and Chromatic Adaptation15:45 – 18:15Chair/Convener: Michael J. Murdoch, RIT (US)

Chromatic adaptation is a marvelous capabili-ty of the human visual system, allowing us to re-spond to changes in illumination and perceiveobject colors to be relatively stable. Conceptsof corresponding colors, color constancy, andillumination estimation are all relevant.This workshop is organized to explore

current research related to lighting and its relationship to chromatic adaptation. Keytopics for discussion include:• Mechanisms for chromatic adaptationand models for chromatic adaptationtransforms (CATs)

CIC27 Workshops: Tuesday 22 October


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• Experimental methods for measuring andtracking visual adaptation

• Limits of adaptation and factors affectingthem

• Effects of adaptation on visual perform-ance, color discrimination, etc.

Call for speakers: Researchers who want toparticipate in the discussion or to give a pres-entation are welcome to submit their proposalfor review via [email protected] (subjectline: Lighting Workshop).

Confirmed speakers/topics:● Marcel Lucassen (Signify): chromatic

discrimination under different spectrallighting conditions

● Michael Murdoch (RIT): chromatic adaptation to temporally-dynamic lighting

● Kevin Smet (Katholieke Universiteit Leuven): chromatic adaptation, effects ofbackground field size, mixed illumination,and chromatic lighting

Michael Murdoch is an assistant professor inRIT's Munsell Color Science Laboratory, wherehe teaches psychophysical methods, MATLAB,and lighting topics. His research covers tempo-rally dynamic lighting, perception of advanceddisplays, and color appearance in augmentedreality. Murdoch’s experience with color per-ception and system design for solid state light-ing, LCD, and OLED displays is rooted in indus-trial work at Kodak Research and PhilipsResearch. He has studied at Cornell, RIT, andEindhoven University of Technology.

W3: The Art and Science of High-End Digital ColorPrint-Making15:45 – 18:15Chairs/Conveners: Peter Morovic, HP Inc. (Spain)and Ján Morovic, HP Inc. (UK)

Creating subtle yet impactful fine-art prints–be it reproductions of other forms of art ororiginals produced directly as digital printssuch as graphic design, digital art, or pho-

tography–used to be the exclusive domain ofartisanal processes mastered by highly-skilledprint-makers with many years of experience,often working alongside the artists them-selves. Over the past few decades, many ap-plications previously reserved for these tradi-tional, analogue processes have given wayto digital technologies. For example, fine artphotographers – whether they capture inanalogue or digital – have been exploringthe possibilities of digital print and its newpotential. Printing technologies have evolved to mul-

ti-primary printing, higher printing resolu-tions, smaller and more precise drops, andink and substrate development resulting inlarge color gamuts, as well as unprecedentedlight-fastness on the order of hundreds ofyears. Likewise, printing pipelines and work-flows have undergone drastic innovations inthe areas of color management, color sepa-ration and halftoning, and an ability to han-dle the multitude of complex transformationsrequired to go from the digital input to the fi-nal, physical print. Even staunch analogueadvocates experiment with digital, whetherby considering a full transition or combininganalogue and digital processes, such as dig-ital negatives.This workshop brings together state-of-the-art

in all the aspects that work in concert to deliverhigh-end, fine art prints, while at the same timehighlights areas where there are still opportuni-ties for improvement or new applications thatare impossible today. While in some areas, sci-ence and technology have closed the gap withanalogue print making processes, the opportu-nities with digital printing are still to be discov-ered. This workshop combines talks on relevanttopics with demos and print samples, to be re-viewed by attendees and discussed together.

Confirmed speakers:● Clotilde Boust (Louvre)● Cyril Bertolone (Canson Infinity)• Ján Morovic (HP Inc.)• Peter Morovic (HP Inc.)


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• Stefan Neumann (Hahnemühle)• Joseph Padfield (National Gallery London)• Marianna Santoni (Canson Infinity Ambassador)

Peter Morovic received his PhD in computer sci-ence from the University of East Anglia, UK(2002) and holds a BSc in theoretical computerscience from Comenius University, Slovakia. Hehas been a senior color and imaging scientist atHP Inc. since 2007, has published more than 60scientific articles, and has more than 150 USpatents filed (45 granted) to date. His interests in-clude 2D/3D image processing, color vision,computational photography, and computationalgeometry; his Erdos number is 4.

Ján Morovic received his PhD in color sciencefrom the University of Derby, UK (1998), wherehe then worked as a lecturer. Since 2003 he hasbeen at HP Inc. as a senior color scientist and lat-er master technologist. He also has served as thedirector of CIE Division 8 on Image Technology.He is the author of Color Gamut Mapping (Wileyand Sons) and more than 100 papers, and hasfiled more than 150 US patents (48 granted).

W4: Cultural Heritage Digitalization15:45 – 18:15Chair/Convener: Sony George, NTNU (Norway)

Cultural heritage digitalization is high inter-disciplinary. By facilitating the interaction be-tween color experts, imaging scientists, andpeople working in the cultural heritage sec-tor, our goal is to help researchers better un-derstand the challenges and opportunities inthis area. Research and case studies con-ducted by experts from different domainshelp us understand strategies for acquisition,analysis, and the constraints/needs of theend-users. The expert panel includes conser-vation scientists, technology researchers, andindustry representatives. Presentations focuson the objective of digitization, data qualitystandards, location of critical areas or inter-est, challenges specific to artefacts, etc. Dis-

cussions highlight the needs and challengesin this sector including conducting research,applications of new technologies, impor-tance of interdisciplinary collaboration, andnew skills acquisition. Panelists address strat-egy and propose solutions related to digiti-zation methods, multimodal imaging systems,possible analysis and limitations, supportingrestoration, visualization, tools for analysis,time and accuracy, and data reuse.

Confirmed speakers/topics:● Christian Degrigny (Haute Eclose ArcConservation-Restoration): technical studyand conservation condition of Château deGermolles’ wall paintings using imagingtechniques combined with non-invasive an-alytical techniques

● Lindsay McDonald (University CollegeLondon): TBA

● Robert Sitnik (Warsaw University): 3Ddocumentation process of cultural heritageobjects: towards automation

● Vitaliy V. Yurchenko (Norsk Elektro Optikk A/S): key quality indicators of hyperspectral cameras: current status andcase study from pigment analysis

Since 2017, Sony George has been an associ-ate professor at the department of computer sci-ence at the Norwegian University of Science andTechnology (NTNU). He is a member of the Norwegian Colour and Visual Computing Laboratory (www.colourlab.no), where he teach-es, supervises students, and serves as the Norwegian coordinator for the French-Norwe-gian International Master Degree. George ob-tained a PhD in photonics from the Cochin University of Science and Technology in India(2012). His research interests are in the field ofcolor imaging, hyperspectral-multispectral imag-ing, and 3D imaging. He has been involved inseveral national and EU projects in multiple roles,including H2020 EU MSCA-ITN projects, HiPerNav, and CHANGE (https://change-itn.eu/).


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Conference registration includes admission to all technical sessions, CIC workshops, coffee breaks,exhibit, Welcome and Conference Receptions, and conference abstract book with proceedings onUSB. Separate registration fees are required for short courses. Student registration includes mem-bership. To serve the needs of non-students, IS&T is offering conference registration options thatinclude membership with JIST or JEI, at the same rate as non-member fees. You may use this torenew your membership for 2020, as well.

1. Technical Conference Registration (includes one workshop) (CHECK ONE)

Please check ALL that apply. I am a: r speaker r session chair r committee member

r IS&T member r only taking short courses and/or a workshop r short course instructor

Go to www.imaging.org/color to register online.CIC27 Conference RegistrationName___________________________________________________________________________

Title/Position ____________________________________________________________________

Company _______________________________________________________________________

Mailing Address _________________________________________________________________

________________________________________________________________________________

Telephone ______________ Fax ______________ Email _____________________________

* Membership benefits include access to the IS&T Digital Library, an online subscription to the Journal of Imaging Scienceand Technology (JIST) or Journal of Electronic Imaging (JEI), The Reporter newsletter, conference fee discounts, and access tothe member directory, among other things. Membership takes within affect 2 weeks of registration and expires 12/31/20.This offer may be used for renewals.

r Conference registration: current IS&T/ISJ Member $815 $915 $205 $255

r Conf. registration (+ new or renewing membership + JIST)* $940 $1,040Membership begins within 2 weeks of registration and expires 12/31/20

r Conf. registration (+ new or renewing membership + JEI)* $940 $1,040Membership begins within 2 weeks of registration and expires 12/31/20

r Conference non-member registration $940 $1,040

One-day: r Wed r Thurs r Fri $445 $495 $125 $175

Select the Tuesday afternoon workshop that goes with your conference registration:

q W1: Future Directions in Image Quality q W2: Lighting and Chromatic Adaptationq W3: The Art and Science of High-End Digital Color Print-Making q W4: Cultural Heritage Digitalization

thru22 Sept

after22 Sept

REGULARthru

22 Septafter

22 Sept

STUDENT

2. Extras___ Additional copy of conf. proceedings Note: One copy comes with conference registration. $140 $ ________ Additional/Guest ticket for Welcome Reception $45 $ ________ Additional/Guest ticket for Conference Reception $85 $ ________ Additional/Guest ticket for Welcome and Conference Reception $115 $ _____Name/Affiliation of Guest for badge: ________________________________________

Page Subtotal $ _____continued on next page

All fees are charged in US$*


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3. Short Course and/or Workshop + Welcome Reception RegistrationPlease note: Course notes for most classes are provided electronically prior to the conference for printing orviewing on your computer. Instructors without e-notes will provide hardcopies in class. The workshop optionincludes the Welcome Reception; none of the short courses include the Welcome Reception.

thru afterOne-day class 22 Sept 22 Sept TOTALMember o SC01 $510 $560 $ _____Non-member o SC01 $560 $610 $ _____Student o SC01 $195 $220 $ _____

Four-hour classesMember (per class; select below) $290 $340 $ _____Non-member (per class; select below) $315 $365 $ _____Student (per class; select below) $95 $120 $ _____

Check one q SC04 q SC08

Two-hour classesMember (per class; select below) $185 $235 $ _____Non-member (per class; select below) $210 $260 $ _____Student (per class; select below) $65 $90 $ _____

Check all that apply q SC02 q SC03 q SC05 qSC06 q SC07 q SC09

q SC10 q SC11 q SC12 q SC13 q SC14 q SC15

Workshop + Welcome ReceptionRegular $175 $225 $ _____Student $65 $90 $ _____

Check one: q W1: Future Directions in Image Qualityq W2: Lighting and Chromatic Adaptationq W3: The Art and Science of High-End Digital Color Print-Makingq W4: Cultural Heritage Digitalization

ORTake ANY three or more classes or workshops and receive 10% off the total price

Enter three or more courses/workshops, fill in member or non-member fee next to each, add, andmultiply by .9 to get your price, representing 10% savings; add additional lines if needed; students may not take advantage of this offer. If registering online, use 2019Pick3 as couponcode at checkout.W/SC__ $ ____ + SC__ $ ____ + SC__ $ ____ = $______ x .9 = $ _____

total from previous page $ _____Wire transfer fee ($25 if applicable) $ _____

GRAND TOTAL $ _____

Payment Method: q AmEx q MasterCard q VISA q Discover q Wire Transfer q Check

Card#: ______________________________________________ Exp. Date: ____________Name as it appears on card: __________________________________________________Authorization Signature: _______________________________________________________

Return this form with signed credit card authorization to IS&T, 7003 Kilworth Lane, Springfield, VA 22151 orfax to 703/642-9094. Contact [email protected] for wire transfer information; $25 must be added to

the total for wire transfer payments to cover bank costs.Please note: To cover bank charges and processing fees, there is a cancellation fee of $75 until

September 22, 2019. After that date, the cancellation fee is 50% of the total plus $75. No refunds will be given after October 18, 2019. All requests for refund must be made in writing.

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